1/3 Three Studies for Portrait of George Dyer (on light ground)
2025, London, 51 x 40,5 cm, spray paint and acrylic marker on canvas
In this series, Ana reinterprets Francis Bacon’s iconic portrayal of George Dyer from the 1960s, presenting her personal translation rather than a direct representation. Instead of capturing Dyer or any specific individual, Ana engages in a creative dialogue with Bacon’s method—taking portraits by other artists and refracting them through her distinct lens. The piece emerges as both homage and experiment, reflecting Bacon’s own artistic process of reworking the portraits of masters like Van Gogh. Ana’s reinterpretation embodies a dynamic exploration of artistic inspiration, emphasising her unique perspective and the fluid boundaries of creative influence.
2/3 Three Studies for Portrait of George Dyer (on light ground)
2025, London, 51 x 40,5 cm, spray paint and acrylic marker on canvas
3/3 Three Studies for Portrait of George Dyer (on light ground)
2025, London, 51 x 40,5 cm, spray paint and acrylic marker on canvas
The Spanish Girlfriend I Will Never Have is Ana’s version of Spanish Woman by Alexej von Jawlensky, inspired by the bold style of German Expressionism. Made while she was living in London, it reflects a fantasy of a Spanish woman she couldn’t meet—an imagined desire shaped by distance and longing.
2024, London, 90 x 60cm, acrylic paint and acrylic marker on canvas
The Spanish Girlfriend I’ll Never Have
Being sober is like being married - there's a sense of safety and achievement, but at the same time it's boring and frustrating as fuck
2023, London, 90 x 60cm, acrylic paint, drawing ink and acrylic marker on canvas
Ana's painting intimately explores the complexities of control, commitment, and the paradoxical comforts of restraint. The work portrays the dual realities of stopping drinking and marriage—both perceived as achievements, secure havens created by deliberate choice. Abstaining from smoking symbolises self-control and clarity, yet feels frustratingly aware and exposed. Similarly, marriage provides emotional security and companionship, yet can feel limiting and monotonous amidst desires for freedom and exploration. Ana’s expressive visuals poetically represent the simultaneous beauty and burden found within these deeply personal choices.
Five Beautiful Smokers
2019, London, 100 x 100cm, acrylic paint and acrylic marker on canvas
Ana’s painting, Killing Each Other Together, captures an intimate, fleeting moment inspired by a chance encounter. Five women stand together, unified yet isolated in their shared act of smoking. Ana was immediately drawn to their quiet beauty and the unspoken bond they formed, reminding her of a woman from her past with whom she shared similar moments—moments of connection and intimacy, created in the solitude of shared smoke breaks during parties. The artwork beautifully articulates how shared rituals create deep, vulnerable connections amidst isolation.
Hopefully when I die I'll be able to quit meds and start having orgasms
2023, London, 110 x 158cm, acrylic paint and acrylic marker on linen
Ana’s artwork addresses the impact of mental health medications on sexuality and intimacy. Through a humorous yet poignant lens, she portrays the profound frustration of a mind yearning for connection while trapped in a body numbed by medication. The skeleton symbolises a reflection on a darkly comic hope—that perhaps only in death, freed from medications, could passion and sensuality return. The piece powerfully explores how treatments meant to heal can paradoxically diminish physical desire, profoundly influencing emotional wellbeing.
The only way I've found for things not to end is not to start them. Therefore I should never have started this painting
2023, London, 152 x 102cm, acrylic paint and acrylic marker on stretched canvas
The only way I've found for things not to end is not to start them. Therefore I should never have started this painting, artwork reflects on the pain of attachments and inevitable endings. The artist explores the intense difficulty of letting go—whether it's the loss of relationships, friendships, or cherished places. Through her art, Ana expresses the tension between wanting to protect herself from the emotional suffering of endings and the deep human need to experience connection. Her personal history, such as the profound attachment to a childhood home, underscores her wish to sometimes prevent beginnings entirely to avoid eventual loss. With emotional depth, Ana captures the bittersweet essence of human bonds and the vulnerability inherent in truly experiencing life.
2023, London, 145 x 121 cm, acrylic paint and acrylic marker on linen
MY SELF-ESTEEM “COMMITTED SUICIDE”
The MY SELF-ESTEEM “COMMITTED SUICIDE” painting explores themes of uncontrollable impulses, low self-esteem, and emotional entrapment. Ana confronts the internal struggle of her mind turning against itself. The numerous small brains depicted symbolise Ana’s own mind, creating a vivid self-portrait of internal conflict. These brains illustrate how her mental health battles become self-destructive, a metaphorical representation of her own thoughts attacking her sense of self.